Disney, the warship, captured the Star Wars universe, firing off in quick succession two movies: The Force Awakens, which continues the picking-over of the Skywalker family bones, and Rogue One: A Star Wars Story—that is, a side quest between Revenge of the Sith and A New Hope, which I paid sixty dollars to see, including four sets of black plastic 3-D glasses. Rogue One is proper Star Wars canon because Disney says so: The once-untold story of how the Rebel Alliance—scrappy and in disarray as ever, a true coalition seized by occasional rancor, debate, disagreement, and speeches—steals the schematics of the original Death Star from the Galactic Empire—decidedly more economical in its internal organization than the Rebels, as there is no debate who is Emperor and who is Lord. The Empire’s grip on the galaxy tightens as its weapon of mass planetary destruction nears full operation. The hardscrabble Senate, relic of the felled Republic, appears too busy dissecting its own demise to perhaps take a lesson or two from the other side, who plotted sedition, executed revolution, then brutalized the defeated.
He calls me and says, “I got a good North Country story for ya.” Then after the story he says, “I don’t know, man. I just feel like it would be cool to write something about the people up here. They’re such fuckin’ characters.” Or he’ll say, “If we could just write something about Mom and Dad, you know. I think our upbringing was super unique.” He has also talked about writing rants about people who don’t know the fucking speed limits around here, who hold him up on the two-lane highways that wind through our mountains. Or about making a website that would provide snarky news about the North Country, with headlines like Wilburs Still Fucking Inbred and Way to Fuck It Up, APA. We’ve been having one-way conversations about his writing projects for years. Sometimes he talks about working on them together, and sometimes he talks about doing it himself. I tend not to say much.
The paintings may be best known for what they are not. They were made on the heels of work now considered Matisse’s most groundbreaking, the paintings from the period between 1907 and 1917 when he engaged with the early perceptions of modernism. His trajectory through these years widened his ambitions and shows him becoming more cutthroat within them, first leaving behind the saturated exuberance of fauvism, then, by degrees, flattening color and form into strange and austere near-abstractions.
The Radical Familiar: Matisse’s Early Nice Interiors
We are barreling north out of Salt Lake City, and David is talking about the clouds. “They don’t look like the clouds in the East,” he says. “They’re uniform, but fuzzy.” Out the window, the topaz sky shimmers over the mountains. The snowy peaks echo the color of the fuzzy western clouds, which stretch across the air like floating bedsheets.